


The Big Tour Thing: Duran Duran '89

by yourlibrarian



Series: Concert Reviews [4]
Category: Duran Duran
Genre: 1980s, Concerts, Gen, Nonfiction, Reviews
Language: English
Status: Completed
Published: 2020-03-13
Updated: 2020-03-13
Packaged: 2021-02-28 18:41:38
Rating: General Audiences
Warnings: No Archive Warnings Apply
Chapters: 1
Words: 8,163
Publisher: archiveofourown.org
Story URL: https://archiveofourown.org/works/23131861
Author URL: https://archiveofourown.org/users/yourlibrarian/pseuds/yourlibrarian
Summary: Review of the band's concerts in Tampa and Miami, Florida on January 13 and 14, and New Orleans on April 3, 1989.
Series: Concert Reviews [4]
Series URL: https://archiveofourown.org/series/1668118
Comments: 2
Kudos: 5
Collections: March Meta Matters Challenge





	The Big Tour Thing: Duran Duran '89

It would seem that all is going well in the Duran Duran camp. After all, they have just produced their strongest (and most commercial) album since Rio . Their first single hit the top five and their second has the power to do the same. And even though the critics dismissed them as 'soul-less' and 'formulaic' eight years ago, they can still pull in an enthusiastic crowd.

So what's wrong? Maybe nothing. Certainly not in the show they put together on their Big Thing tour. But Duran Duran's love/hate relationship with the media (they love the media/ they hate the way they're portrayed in it, the media hates them/ but loves their selling power) is turning into open disgruntlement. Perhaps it's about time. After all, here we are at the end of the decade and not only do Durannies still abound but there's a whole new generation obvious at their shows. These kids would have been between four and seven years old when "Hungry Like the Wolf" gnawed at the charts. Certainly it's been enough to cause many older (and closet) Durannies to look about them and shake their heads, wondering how they ever got to be so old. Another thing is that, at least in the shows I attended, the coveted male sector of the audience has grown to one in three. But they're still singing the R-E-S-P-E-C-T blues.

This year it seems they've decided that if the media doesn't want them, they can make it without them. It just might work. Duran Duran were never hipper and cooler than in early 1982 when Rio was first released and only those in the know realized what good stuff was coming out of England. Perhaps they've figured that if they try to go underground again and survive by word of mouth, the general public will at last come around and see them for what they are. It's a risky tactic but the only other explanation is that they've become satisfied with their lot in the business and see no need to increase their audience. It would be a remarkable turnabout for this ambitious trio.

Yet it defies logic why the band would refuse to do press for a powerhouse album that could give them a crossover hit. Their promotional Caravan Duran tour that could have generated excellent publicity was underplayed. Their appearances on MTV have been so low-key as to be indifferent (a sentiment MTV returned -- a bad sign for their once favorite sons). While local radio stations varied in their response, some markets, such as the Tampa/Orlando ones, had frenzied fan response producing intense competition for Duran opportunities. Yet Capitol Records failed to give them advance notice of tour dates, and was uncooperative in supplying information or press kits. Often promos and what little publicity there was took place but days before the show, assuring less than full houses. National publications hardly mentioned the album or the tour. A live syndicated radio interview in which tour information would be provided, was abruptly postponed by the band. In the words of their last tour, it was very strange behaviour.

But Duran Duran has other strong assets besides good music, good looks, fashionable tastes and an eye for the big picture. The band boasts an incredibly dedicated following spanning the eras of their different albums. Whether that core audience is enough to keep filling venues remains to be seen.

Plenty of them were in evidence on January 13 when they played the Sun Dome. After a successful debut in Atlanta, the band continued fine tuning the performance in Tampa. The most memorable aspect of the day was the appearance made by Nick Rhodes at the Ugly Truck Contest at Bill Currie Ford.

He arrived at four and seemed unusually retiring during the live broadcast by a Q105 DJ. Perhaps this was because he had never been interviewed on the back of an open truck before. He answered questions for about ten minutes. They ranged from opinions on the state of British pop (he didn't think they knew what they were doing) to his musical influences and whether or not Duran Duran might do a benefit sometime.

The crowd numbered between fifty and sixty and the two sheriff officers there weren't needed. After the interview Rhodes signed autographs for about fifteen minutes while Duran tunes were spun on the radio. He was amazingly proficient at it, signing anything that would bear up under his blue felt tip. Offerings ranged from early albums and compact disc booklets to cassette cases and post-it notes. He was so nimble that everyone who wanted a signature got one.

When he was finally ushered off the truck into his white limo (accompanied by at least five people) the crowd waved back and saw him off. While appearing distant and reserved, Rhodes is obliging and tolerant of his fans. During the interview one fan called out for him to remove his sunglasses. He did so and smiled as best he could for the waiting cameras while blinking strongly against the late afternoon sunlight. Asked where his bandmates were, he replied that they were performing their sound check. Reportedly, Rhodes has left those technical run-throughs to others lately.

Leaving in rush hour traffic, Rhodes appeared weary when he arrived back at the Sun Dome. Nevertheless he smiled for cameras and signed various autographs before entering the stadium.

The crowds were let in at seven and most were promptly appalled at the merchandise prices which ranged from $6 for a button and $15 for a concert booklet to $23 for a t-shirt. They still sold, of course, but the grumbles were loud and clear. The merchandisers were pleasant but jaded ("Oh you need a program. Do you also need a t-shirt?") and no one was rushing to buy.

Being intimidated by the metal detectors being used my friends and I entered sans camera and tape recorder. Our third row seats were close enough to have us fear Simon's jumps and the first row people almost had to sit folded up. (They stood instead).

The Sun Dome is a fairly small venue, being situated on the campus of the University of South Florida. It held about 10,000 people and never reached capacity.

The opening act was Pursuit of Happiness, a Toronto based group whose "I'm an Adult Now" was getting heavy airplay on Los Angeles's KROQ and other alternative music stations. In terms of musical compatibility they were a poor choice. They started ten minutes early with the explosive bang of "Feels So New" which had a good rhythmic drive. Their second tune opened with a guitar line reminiscent of U2's "Streets Have No Name" which then had a hard rock backing kick in. The third number came across best, sounding reminiscent of the Georgia Satellites or R.E.M. with a harder beat.

Lead singer Moe Berg introduced their fourth tune as "a song about watching your girlfriend take her clothes off". "Beautiful White" segued straight into another number with a familiar sounding bass/drum rhythm.

"Ten Fingers" was introduced as a song about being so deeply in love with someone that the pain made you want to drive into a brick wall. Unfortunately as "She's So Young", "Looking for Girls" and "Hard to Laugh" followed, the songs faded into formulaic mush.

Before launching into "I'm an Adult Now", Berg politely thanked Duran Duran for having them on the tour and hoped everyone would enjoy the show. Predictably he poured all his energy into their hit and the Guns and Roses similarities were quite noticeable. Though they played with energy and enthusiasm their plain appearance (jeans, t-shirts, head kerchiefs) contrasted starkly with the style and polish of the main act. Backing singer Leslie Stanwyck's amateurish gyrations might have been funny had they not been so pathetic. Though a smash in Canada, the group came off as little more than a good local band.

When they left the stage a beating red heart came on the stage's screen backdrop and a tape of uncredited but intriguing instrumentals began playing. The heart continued beating in the left corner as Pursuit's set-up was removed, leaving an equally stark black stage for Duran Duran.

While two lighting technicians climbed a narrow rope ladder to the overhead bank of lights, a companion and I evaluated our chances should that swaying mass of metal and glass crash down on us. The tests continued until just after nine o'clock when the lights went down and the back screen lit up with the colored block art of their album cover . The blocks flashed and changed sequences as a tape of le Bon read the poem "God."

Unfortunately it was almost impossible to distinguish any words due to both the screaming and a rather indistinct sound, so it was a good thing the poem was reprinted in the program. Sterling Cambell appeared first on stage and began the drumbeats to their opening number, "Big Thing".

The idea for the number and the basic theme of the show was technicolor/video hip. They were backed up by Jacqui Copland and Melanie Redmond, a mod auburn haired and blonde pair outfitted in fluorescent paisley minidresses. Both saxophonist Stan Harrison and keyboardist and trombonist Spike Edney were nattily attired in tweed vests and pants (Edney looking rather like Peter Gabriel's cousin). Warren Cuccurullo was in a black tie-dye shirt and black peg legged sequined pants. Taylor and Rhodes also sported the pants, which had the unfortunate effect of displaying exactly how emaciated Taylor is. More amusing was the revealing difference between Taylor's rail thin ankles and his huge 11 1/2 sized boots. The black velvet vest further revealed sparse chest hair and a mole on the right side of his chest.

Rhodes, of course, topped his pants with a sheer black blouse and a muted green paisley waistcoat. Unfortunately le Bon spoiled the picture. Although wearing silk/rayon form fitting pants with a thin net ladder up the sides, and a silver buttoned leather jacket, the blue head kerchief belonged somewhere else. On someone else's head. Taylor's black wrapped kerchief at least managed to look stylish combined with his head microphone. Le Bon merely looked like a biker who had taken a wrong turn, and the greasy permed strands of hair emerging didn't help.

The Tampa date was played efficiently and professionally with Taylor looking amiable, Rhodes occasionally flashing his trademark smile and Warren Cuccurullo generally keeping to his side of the stage. The problem was with le Bon. While having polished his stage moves to something approaching grace, he was reportedly ill. Despite being directly in front of him and easily seen it was obvious he hardly made eye contact with anyone. The sole exception was when he briefly smiled and mouthed to a girl in the front row "You're beautiful."

Nevertheless, the show delivered what it promised and was a full two hour set, ending at eleven. Also at the show was Simon's mother, Ann le Bon, sitting a few rows back to the side, who waved to fans on her departure from the Dome.

It was a good thing that the show was so well done because I needed the incentive of another good show to manage viewing seeing them the following evening in Miami.

First of all, I spent the night in Tampa planning to drive down to Miami with a companion. After three hours of sleep we woke early to pick up our tickets and start the trip. However, she was not feeling well which made me realize I would have to find an alternate way of getting there.

Another acquaintance had purchased my ticket and was in the band's hotel, the Embassy Suites. We went there to pick up my ticket and have my companion sell hers. The Suites were quiet and charming with the rooms surrounding a center courtyard, containing a coffee shop, rock waterfalls, a swimming pool and patio dining. The band was asleep at the time but later went for a joint swim before leaving to fly to Miami where they were due for a radio interview at three.

I knew I had to return my companion to her home in Daytona Beach a two and a half hour drive. From there I planned to catch a plane to Miami, return and then make the hour's drive home to Orlando. However, when we checked the airport in Daytona they had no flights to Miami except through Orlando.

I returned to my home and made several calls to travel agents. No one works on Saturdays. At last I got the 24 hour agency at the airport which informed me no flights left Miami for Orlando after ten at night. I would have to stay over, and the only flight that would arrive before seven would leave in barely an hour. I called another service to get me a reasonable hotel by the airport and left at once. Fortunately, I arrived in time to pay for the ticket and get my boarding pass (I was, of course, already packed). Unfortunately when I reached the gate I found that the flight had been delayed due to mechanical failure in Atlanta and was due to arrive in Miami at almost seven, possibly later.

I went back to the terminal to consult with a friend who worked in the airport. Repeated calls did not find her in her office. Finally I went to it and placed a phone call delaying my hotel check in time to midnight and gave them my credit card number. Then I called to check on the airline's status. I was told that my original flight had been cancelled and another flight from Atlanta would be continuing to Miami. The arrival time would also be seven.

I decided I would not have time to check into my hotel and deposit my belongings before continuing to the show. So I changed into sweats and left my bag for my friend to deliver to my house, taking only a few articles in a satchel. I returned to the gate and found that the new flight was not, in fact, going to Miami and someone had been mistaken.

I returned to the terminal (again) and asked my agent to book another flight. The only one arriving before nine was a Delta flight that was fully booked. She suggested I try the Delta counter.

The man at the Delta counter was sympathetic but told me I'd have to see at the gate if I could fly stand-by. So I returned to the gate, was put on stand-by and discovered that the 10 seater commuter plane was only half full. I would be arriving at seven-forty.

Unfortunately, since the plane was not pressurized it was not only slower and noisier, but also gave me a debilitating sinus attack that made me seriously fear ear and nosebleeds as we descended. The last thing I wanted was to need emergency assistance during a race against time.

Fortunately the pain lessened as we landed and I ran for a taxi. The driver had barely opened the door for me when I panted "The Miami Arena. Immediately." He complied wonderfully, zooming through Saturday night traffic to deposit me at the Arena in just over ten minutes.

As I entered I was struck by two things. Pursuit of Happiness had just begun their set-- and they were not checking for cameras or recorders. I was in anguish almost as severe as my sinus attack. I had left it all behind in Orlando for fear of having no place to keep them should they be discovered.

My acquaintances had only just arrived themselves, having taken a seven hour car journey from Tampa, leaving them nearly as tired as I was. (I had managed to get a light lunch). I noticed the sound was substantially louder in Miami when the bass lines threatened to change my heartbeat.

Pursuit was well received with individual cheering sections in the crowd yelling "Way to go, Moe." Perhaps in reaction the band leader again thanked Duran Duran for their spot and added, "I see everyone's found their seats now so I guess we've done our job." They then launched into "I'm an Adult Now" with double their fervor from the night before and Berg throwing his guitar under the legs of guitarist Kris Abbott. He then worked the microphone off its stand and proceeded to make an ungraceful tangle of himself in it as he derangedly crossed the stage.

While the stage was being cleared, longtime Duran roadie 'Rocks' Neate captured attention with his fluorescent yellow socks, prompting my acquaintances to shout "Rocks, we love your socks!". He stopped and grinned and waved to them as he tested the synths.

The Miami Arena is, besides being new, an extremely attractive venue and seats an estimated 15,000. However despite the size of the city, the crowd was sparse in the upper levels and was far from a sell out. The diversity of the crowd, though, reminded you it was indeed Miami. One rather noticeable attendee was in the third row (we were in the eighth). It was a thin drag queen, dressed in a black lace dress with long black fingernails. 

Although the band was almost twenty minutes late in starting, it was obvious from the first blast of "Big Thing" that the group was in fine form for the show. Dressed in a snazzy red brocade suit and red polka dotted black tie that contrasted sharply with his taut pale skin and jet-black hair, Taylor alone sported a costume change. He was also very playful the whole evening, beginning by deliberately backing into le Bon at his microphone stand. The words "big thing" flowed up the back screen in time with the lyrics and the effect was electric on the crowd.

With "noise" flashing on the back screen they launched into "I Don't Want Your Love" as Nick flashed his own grin at an offstage roadie. Le Bon flung his jacket off in a long arc as Taylor and Cuccurullo scurried backwards from each other on the break. A straight narrow screen was partially lowered to flash the song's logo and le Bon leaped up to the back riser to be spotlit in front of it as he sang "I like noise." Rhodes pounded out the beat and Taylor swayed in the front of the drumset with his back to the audience (a frequent pose that night) for a dramatic effect. Donned in a black shirt and an ocher brocade vest, le Bon snatched up a fluorescent pink tambourine from the front and rattled it at the song's close.

He then began "This is Saturday night. We've been waiting a long time for this. I hope you are." Then, looking down at a girl in the front , he added, "I know you are. We're going to play you a song now that you should recognize."

So much white fog whirled that it almost choked the stage as they went through "Hungry Like the Wolf". White lights waved up and down the audience and the blue lights and sirens screamed during the break. Le Bon knelt and slapped the back riser and then his microphone screeched after the break. Pointing at his trombonist he urged "Let me hear it."

Grabbing a pick from stage side, Taylor began the "Election Day/Some Like it Hot" medley as the stage blared three times "Maximum big surprise." There was a lot of interplay between Cuccurullo and Taylor and red lights seethed as le Bon did his video walk backwards and then bent over with a "pulling weeds" move that brought screams. As the song segued into "Some Like it Hot" he and Taylor did a question and answer on the "Are you going to do it?" to which le Bon added on the last, "Maybe." Taylor and the backing singers then followed le Bon as he strutted across the stage, finally turning and stopping the girls with an upheld palm.

He returned to center stage as the song continued with stacattoed "hot"'s, and, as if the point needed emphasizing, he grabbed his crotch. Then he and Taylor went into an intense vocal exchange at the closing "Some like it hot" that nearly brought them both to laughter, finally ending in a slow, mellifluous "some like it -- ho-oot."

Following the applause, le Bon began in a disjointed explanation "There are lot of people here tonight, who don't have people, missing friends, absent friends. This song is for them." He swiftly climbed to the back riser as he began "Do You Believe in Shame." Psychedelic paisley swirled on the back screen and Rhodes asked Taylor something as he stood by him, to which he shook his head. Yellow lights came on at the break, to be replaced by blue at the close. The song was noticeably poignant at the end as le Bon stretched out his arm pleadingly and cried his final "Hey"'s.

The next song began as the words "all she wants is" flashed on the screen. Le Bon proved as graphic as he did moving, when he made breast and crotch fondling motions on the "pulling them by the hand inside" line, and then waggled his butt at the audience. In the meantime Rhodes traded head tosses with Taylor.

This song was the best part of their set, however, and the most choreographed. Cuccurullo joined Taylor on the back riser as they dueted together and le Bon kneeled in a 'muscle' pose on the step below them, then rose and faced Cuccurullo, whirled to the audience and descended to the microphone. As Cucurullo jammed out his solo Taylor faced him on the ground stage and le Bon knelt and bowed to him.

As Rhodes' synthesized percussion took over, Taylor doffed jacket and bass and Sterling Campbell joined him and le Bon center stage. They danced in a circle then succumbed to the attentions of the now black vinyl-raincoated backup singers. Moving on to Rhodes as le Bon and Campbell danced to each other, they sank him down behind the synths momentarily and then turned to Spike Edney.

The band moved into "Planet Earth" and Rhodes doffed his jacket. Taylor now revealed a red satin vest and black shirt with a red heart on his sleeve. Then the song closed with a staggered "All she wants is", then a bang and holocaustal sounds wound down with the dimming lights. Le Bon leaned back with arms outstretched and Taylor posed in an eerily mannequin-like fashion until darkness.

A mirrored globe lowered itself into a white spotlight, casting stars on a red lit stage and out into the audience as a tape of le Bon began reading "This is How a Road Gets Made."

Taylor is seated on a high chair next to Rhodes as le Bon begins singing "Winter Marches On" while playing timpanis. White banners are lowered from the ceiling and blow in a breeze. A hooded and cloaked Jacqui Copland walks down the risers to duet with le Bon. They waltz during the break (he, rather stiffly, she looking radiant). The Twins look cheerful together as the song ends and Copland and le Bon part with outstretched hands.

A giant pinwheel is put on stage and red and blue lights blend on "Palomino." Giant circular orbs of light cover the arena. Le Bon turns in a circle, making wavy motions with his hands during the break. He ad libbed continuously until song's end while Rhodes pounded crescendos until le Bon's finale, a sweetly expressive croon.

"A long time ago, I'll tell you a story," le Bon began with evident sincerity, "I had a person who was very close to me, who I loved very much. We had a big argument, and she said 'It's time to leave' and I said 'No. It's too late, Marlene."

Green and yellow lights blended in the song and then magenta and blue on the "send down your rain" sections. The two back-ups stood on the back riser singing down to le Bon while Taylor and Rhodes grinned at each other on the "It still tastes as sweet" line. Le Bon then called encouragement to his saxophonist and reveled in the sound. He slowed it down to a close with a waved finger and then drew his hand to his heart. He kissed his fingertips and waved it to the audience as the song ended.

As he left the stage Taylor seemed to forget it was his turn for an introduction and le Bon started to do it for him when Taylor interrupted and took over.

"Miami, right?" he strolled over the stage. "Saturday? How you doing, Nick?"

Rhodes, who had been kneeling in front of his rear synthesizer, jumped up in a truly amazing sight, looking surprised and embarrassed. He replied inaudibly at his microphone and Taylor questioned, "You're pissed tonight?" Rhodes mumbled, "Oh you're... loading his disc." Turning back to the audience Taylor continued, "Does anyone want to go back in time?" The audience roared. "I was afraid you'd say that. Well, if we're going to go back we might as well go allll the way back," he called as he turned and waved on "Girls on Film".

Strobes flash on the punctuated beats and Rhodes actually punched his fist into the air. Le Bon danced away to Taylor who asked something and le Bon replied "Hot tonight." After the break, the entire arena erupted into a giant party.

The back up singers, on opposite sides of the stage began the "Notorious" wave and Simon climbed to the riser as the girls strutted and slid up to him. He kneeled and then lay backward off the riser, and this evening, nearly fell. Expecting the audience reaction on his "Hey!" and "Slam" he called after "Boys make the noise", "Come on, boys!". Near the end he got the crowd to do the 'notorious' calls and shouted "Have you got the balls"? --'notorious'--"Come on, give it to me"--'notorious'--"Huh!". The song continued as he left the stage, and a mini screen lowered in front of the back-up singers as rows of dots ran across it.

Le Bon returned in a sequined black jacket saying, "I'm going to play a little song called, "Skin Trade"." Circlets of green, blue and purple were on the back screen as the back-up singers' shadows on the mini-screen showed them changing in time to the music.

"Now doesn't it feel goood?" le Bon called. "Oooooh, yeah. " He sings "Get angry at the weekend" to Taylor who pouts and shakes a fist.

A beach ball starts up but stops up front as le Bon puts a fist on his hips and frowns, then mentions it in an aside. He pretends to miss a line and as the break comes up he grins, "That tickles," then points at the screen and calls "Oh, look at that!"

The screen goes up to reveal a costume change for the singers and they frame le Bon. As everyone claps, Rhodes holds his hands behind his back, then points one-two-three at Edney who begins playing. The women take le Bon's jacket off and all three hold up fists as the song ends with "Someone please explain!"

"I suppose you're what's called Floridians," le Bon strolls the stage. "That sounds like a (inaudible), doesn't it?" he asks Taylor. "We're going to do a little singing together now, aren't we?" he asks the audience. "Please. Please," then as some begin to cheer he adds "Please, please tell me now."

As le Bon sings to Taylor next to the synths he grabs his crotch again and Taylor pretends to punch it. Bouncing back over to his end of the stage Taylor sings the "today" etc. backing to people in the audience with an engaging grin. Rhodes dips by the keyboards and holds a palm up and then, with Edney, shakes his finger on the "nuclear war" line after which le Bon calls, "Thank you" and then receives cheers as he plays the harmonica even though he hits a sour note. Taylor grins, lifts his leg and kicks to the final chorus as the back-up singers hug each other and sway. At the end, like the night before, Taylor almost forgets to shut off the bass pedal before they launch into "Wild Boys".

He and Cuccurullo join le Bon on the back riser as they get the crowd to respond with 'wild boys'. Le Bon wraps an arm around Taylor's neck on the "boyyyys" line and it is obvious his voice is starting to go. He leaps from the riser and the lights flash onto the audience. Taylor faces the drummer as he chants and there is a strong crowd call-back.

The song trickles off at the end with a light synthesizer line and segues straight into "Drug Is Just a State of Mind". While in Tampa, Taylor got the crowd to sing "hip, hip" before the number even got under way, he is slow to catch up tonight.

"Come on, get into it," le Bon calls as the words 'up all night' glide across the screen. Cuccurullo and Taylor two step forward and backwards. Le Bon stopped the music to get the crowd to call back on "up all night."

"Do you get that?" he asked. "Come on, give it to me."

At this point a guy and his girlfriend crawl into my row barely giving me room to stand. He leans over to ask who I am writing for and what kind of review I'll give the band.

Rhodes is pounding out all the rhythm he can muster. Taylor and Cuccurullo are dueting and le Bon is emphatically calling "take me, take me."

His microphone, however, can't seem to take anymore and he exchanges it before saying, "Now that's more like it. In case you didn't know it, blaring the hell out of that saxophone is Stan Harrisson." He went on to introduce the others and then said, "On bass guitar is John Taylor. " Taylor nods, smiles and seems to pose. "I didn't mean to tell you you're good looking," le Bon adds. The audience shrieks. "Oh, he's not that good looking," le Bon retorted. Mockingly as affected by John's striking pose as the rest of us, he adds "Oh yes he is!"

Then Taylor comes over saying "Don't forget him," and le Bon replies, "Oh, you mean over there?" "Yeah, on the keyboards," Taylor agrees. "The synthesizers," le Bon corrects sternly, "Synthesizers, synthesizers," Taylor agrees quickly. "Should we?" le Bon asks as Rhodes laughingly regards the two, "Oh, alright. The inevitable Nick Rhodes!"

Then as le Bon stood beside the keyboards Rhodes asked, "Do you want an introduction, Simon?"

Le Bon nods, so Rhodes calls, "Simon John Charles le Bon on vocals!"

Le Bon grins and looks a little embarrassed as the crowd cheers and says something along the lines of, "Do you have to do that, guys?" to Rhodes and Taylor. Taylor has been standing with his hand on his chin, looking distracted and then comes to attention as le Bon begins, "We think you know this one, so we want you to sing it along with us. This is 'Save a Prayer'."

Lighters pop up around us as the lights go to red on the stage and Taylor climbs to the drum riser, where he stands playing. Silhouetted by the red lights he cuts an elegantly angular figure, standing out like some rare art form. Le Bon says something to someone in the front row with a grin, then mouths "You know? Ok." Taylor nods in pleasure to someone at his corner of stage then his eyes roll at an "Oh, yeah" of Simon's that strays off key. Le Bon kneels at the end as the stage lights sweep and hugs the microphone stand to his shoulder. Then he stands and begins the song's arm wave. Most everyone joins in and the song closes nicely with Rhodes rolling his head back as the lights dim.

The back-ups immediately begin "Na na na na"'s and Taylor guides them with arm sweeps. Le Bon begins, "I want to tell you that a little friend of mine just loves to dance. Oh, you know his name. I know you do. It's the re-flex."

A rose manages to hit the stage as Taylor and Cuccurullo talk, then play to each other, Taylor being almost flirty. Then he moved to his side of the stage and tried to communicate something to a roadie who obviously couldn't understand. Taylor laughed, shook his head and mouthed "No, no," all while trying to sing his own "na na na na"'s.

Le Bon stands next to the keyboards and asks, "Ok, you ready, Nick?" Rhodes nods and supplies the responding basso sounds to le Bon's "Why-y-y-y" in the break. Then he spins, hands behind back to another synthesizer.

Le Bon's voice, which has been ailing for several numbers now, cracks near the song's end and Taylor nearly breaks up. He joins le Bon at the mike for a lento, harmonious duet of "Rio"'s chorus, pointing up together on "mountains" and down on "Rio Grande." The song then explodes full tempo and lights shine on the crowd during the synthesizer fills, causing cheers.

As the song ends, the crowd claps crazily in time and le Bon backs up to Taylor. Taylor tries to bump him off balance, but, unaware, le Bon moves away. He is jumping up and down, slapping the tambourine with his head back and eyes closed in a frenzy of delight, and Taylor laughs in equal pleasure. Then as the song thunders in a loud close le Bon bugs his eyes out and kneels and gestures with his arms to raise the crowd's cheers. The band comes to the front and bows quickly, Rhodes picking up the rose, and then leave the stage.

Chair pounding, faint chants of "We want Duran" and a mighty foot stomping herald their return to the stage, Taylor now sporting his black bandanna, le Bon with his jacket back on and Rhodes in a complete costume change of a white shirt and blue suit with enormous shoulder pads.

"Hey Miami, thank you," Taylor calls. A red light plays on the black screen showing a scene of skyscrapers. Le Bon begins "Edge of America" at Cuccurullo's end of the stage. His voice is a hairshade this side of disaster and I find myself almost wincing in anticipation of a serious crack. Taylor and Campbell are wearing fluorescent yellow make-up stripes under their eyes which never take full effect because of the stage's brightness. Le Bon is a shadow at the lip of the stage and his voice rolls off into an echo on the final "edge". Rhodes turns his back and sways as "Lake Shore Driving" kicks in. Cuccurullo takes center stage and the spotlight as the back-ups reappear in body stockings of black with fluorescent orange designs. They dance on the back riser, twirling white banners, as Taylor joins Cuccurullo. They duet in a tour de force while he makes expressions suspiciously reminiscent of Eddie Van Halen. The song closes with white lights flashing on and off to three "Ba-bam"'s and suddenly le Bon rises up from behind the keyboards and blows a whistle around his neck. He is wearing a shirt to match his back-up singers and a black stovepipe hat, which rather suits him. He cavorts about stage as the band goes on and Taylor tries to do the bump with the women on the back riser. 

Finally getting a white wand from off stage, le Bon conducts the audience in a repeat chant of "Whooaaa"'s and "na na na"'s. Rhodes lifts his head in seeming ecstasy during the "brrrrrrrrr"'s before le Bon leads "Mia-ami" "We love you" "Oh yes, we do" and then repeats twice "Free James Brown". The audience suddenly stops singing completely.

In Tampa many people followed, not knowing who James Brown was or that he had been sentenced to prison time for threatening people with deadly weapons and leading police on a cross state car chase (apparently due to PCP addiction). Obviously a lot of people knew in Miami and didn't agree with the sentiment. It seems typical of Duran Duran that when they join in a "benefit" cause, it backfires on them.

The band again comes to the front of the stage and bows, le Bon asiding something to Rhodes who replies. Le Bon then mouthed "What did he say?" and Rhodes replied, "Tell you later." The beach ball is kicked back from stage and the band files off, le Bon doing a mock samba step. "We Need You" begins playing on the PA system.

Apparently the return of such perennial favorites as "Girls on Film", "Planet Earth" and "Rio" in the band's set was due to fan outrage at their omission on the 1987 Strange Behaviour tour. (During their Caravan Duran tour, they also experimented with the set's playlist. ) But you can't please everyone, and I heard a variety of complaints as I exited the stadium. Most of them had to do with somebody's favorite song that wasn't played, such as "Union of the Snake" or "New Religion". But many people were also heard to complain about le Bon's "stupid bandanna." Obviously the group's fans believe that if they pay the price of admission they should get to see all the wares the band has to offer.

People flowed down the three flights of stairs at the Arena entrance and spread across the road, the multitude of Duran Duran t-shirts making the closed off street look like a block party. Many others at the Metro Rail station across the street stood watching the still excited multitudes below like uniformed sentinels. Three girls stopped and posed for their friend's photo on the Arena steps, holding a bootleg black and white half-tone version of the last tour's poster. The girl looking like Kylie Minogue giggled as she pointed to the stylish pink and blue arena title on the doors above them.

A bare chested man, apparently believing he was Greg Louganis, strolled by the entrance. I hear the phrases "All she wants is" and "up all night" sung by two different guys as they pass me. I hear many people have strong accents or are speaking Spanish as they walk by me. A Q 96 van below collects its passengers and circles the police cars to exit. We were all lucky the concert had not taken place a day later, since the following afternoon the police shooting of a black motorcyclist would start riots just blocks away from the arena and cancel a Miami Heat basketball game at the venue.

A sweet faced, grey haired mother strolls by, scanning the stairs with an anticipatory look. But her child (or children) did not appear and she tried another side of the building. It made me remember my own parents doing so, both of them believing I was off on some foolish adventure, and yet indulging me. This time I am here to render my own judgement, and the only person who (hopefully) waits for me is a cab driver on a quickly deserted street. It is, after all, eleven-thirty in Miami and my memories suddenly seem like a lonely thing to take home with me to a cheap hotel room. Unfortunately, my cab never shows and the phones are locked inside the Arena. Looking around for others I spotted a security guard making a late arrival by cab near the service entrance, and was in the car almost before he could get out. Wandering around downtown Miami after midnight is not my idea of a good time.

Such was not the case two and half months later for the band's closing U.S. date in New Orleans. I first spotted them arriving at their hotel, the Windsor Court, fresh from their 4 PM arrival at the airport. Loaded down with flowers and luggage, they quickly sped through the lobby to the elevators. Fifteen or more fans were awaiting them and there was mass confusion for the approximately three minutes they spent in the lobby. Simon le Bon was the first to enter, virtually unrecognizable in ponytail and black denim, and briefly posed for a picture before ascending to his room. Nick Rhodes appeared last, sporting a large black, Mad Hatter style hat, sunglasses, and a black shirt, with a yellow and black polka dotted tie. The effect was striking, if not disconcerting.

Though the concert was due to begin at 8:00, the band didn't take the stage until 8:30 at the splendid Saenger theater. The striking and classic movie-house look, and the intimacy of the 3000 seat theater created a special environment for the stripped down show the group presented.

The only thing that spoiled an otherwise superbly performed and produced two hours of entertainment, were the four inconsiderate men in front of me. They seemed to believe they were at a social hour, and clustered together in conversation through the majority of the show. During one moment they pointed towards the stage and watched as if noticing for the first time there was a concert going on.

The rest of the very diverse and early to mid twenties audience, was well aware of it. From the moment the band stepped on stage, they had the crowd's participation and enthusiasm. Le Bon's dress probably accounted for much of it. Attired in black velveteen pants, black suspenders and a loose fluorescent yellow jacket with black embroidery, his tanned and fit physique never looked better. The always natty Nick Rhodes wore a red suit with black shirt. John Taylor looked much healthier this evening in the form fitting black sequined pants, which was now topped by a long white box jacket, and a black shell necklace. His hair was tied back with a black ribbon, which became him.

Little could be said for Warren Cuccurullo that was complimentary. Although he played competently, his bizarre flowered Spandex attire, and his obvious drunkeness did nothing for the show. Although drummer Sterling Campbell later claimed to have been drunk himself, his appearance could hardly be as distracting.

The playlist was much the same, although there were a few changes. After a sea-washed "Palomino" played, the blue and red swirled stage back lit Taylor and saxophonist Stan Harrisson, who played a slow and sensual James Bond theme. It was a prelude to the explosive and dynamic, "View to a Kill".

There were also four costume changes for Simon le Bon. By the third number he had doffed the jacket and donned a metallic black shirt. He reappeared for "Skin Trade" in the sequined jacket and blue bandanna, but also with black neo-tights which ended at the calf, leaving bare legs and black loafers. It was not only a mismatch, but unflattering. At the song's end, the back-up singers stripped off the jacket to reveal a net vest. He later, mercifully, replaced the bandanna with a more complimentary black hat.

The show was more limited and less dramatic, with "Edge of America" being played early on sans the dancing back-up singers. Also their eye-popping costume change during "Skin Trade" was dropped. But whatever was missing in staged sequences was made up for in interplay between le Bon and Taylor.

In the prelude to the torrid "All She Wants Is", le Bon gradually ran his hand up Taylor's bass neck, and Taylor responded by poking le Bon's chest with an index finger and running it down his body to his crotch just as the song jerked to a start, and le Bon jerked back correspondingly.

On a sing-song introduction to "Is There Something I Should Know", le Bon was crooning, "Please, please tell me", and a passing Taylor accidentally brushed him. Taylor spun with an eager smile as le Bon sang, "Come on, John, please tell me". Taylor sank to his knees and responded with the "Please, please tell me" chant, before getting up and continuing on.

The interplay continued when the two spun and leaped together across the stage on "Wild Boys". As le Bon crouched, Taylor did so as well, and then rolled onto his back, his feet lifted in the air. He continued playing flat on his back until le Bon helped him to his feet and patted his shoulder.

Of course, the interplay didn't exist solely with the band. As usual, Taylor began an introduction for "Girls on Film".

"Hello, New Orleans," he began. "I'm glad you could all be with us tonight. We're always happy to play in New Orleans. I guess this is the place to be on Monday night." As the crowd cheered, he nodded, saying, "Good, I'm glad we're in the right place. Is this the place where they have the 80's revivals?"

Just then a young, black-garbed girl sprang on stage and rushed over to Taylor, taking him by a lapel and speaking to him earnestly. Suitably startled, Taylor took a pace or two back and said, "Oh, hello. " He watched and listened to her until security man Eddie Perez came across stage to take her by the arm.

"What's your name?" Taylor asked. "Rebecca? Meet Eddie," he said and handed over, waving good bye with a sly grin. Then he walked over to center stage and said, "By the way, this is Melinda Evans' fiftieth show," referring to a consummate fan who has reported on the band with a quarterly newsletter. "Now, where was I? Oh yes, the eighties. Does anyone remember the eighties?"

As the crowd cheered he nodded, "Good, me too. Then you'll remember the sound we were hearing. It went like this."

"Girls on Film" ensued, and, as le Bon sang the line, "you've just made a million, that means money, honey", Melinda Evans and her companion showered the crowd around them with Monopoly money in a neat twist.

The mood of the band itself was equally playful. During the band introductions, Taylor returned from the stage wings to take a bow, and he grinned much like a little girl at her piano recital. Perhaps he was anticipating the fate of Nick Rhodes.

Their encore consisted of a guitar intro reminscent of Andy Taylor's hit, "Take It Easy". But it was "Bang a Gong", which le Bon managed to avoid mishandling. They followed with "The Reflex", and then, "Rio".

As le Bon and Taylor began their lento introduction, towels began flying onstage to Spike Edney, who turned and threw them at Rhodes's head. As he was the only one on stage playing, Rhodes could not afford to do more than duck. He attempted to do so repeatedly as he was pelted with at least twenty five towels in a matter of 45 seconds. Finally, just before the song started, at least six towels were dumped on him at once, hiding him completely. With a shudder, he threw the towels off and continued playing. At the end of the first verse, he took a pile of them and dumped them back on Edney.

The band then said their second goodnight of the evening, and a tape of their "All She Wants Is" Eurohouse mix began to play. They all danced to it, Rhodes tangoing offstage with Melanie Redmond. Taylor, who was draped in a "Big Thing" banner, began playing tug-of-war over it with Eddie Perez and was finally forced offstage by his security man.

The evening was hardly over for the band. Later at their hotel they congregated in the bar discussing the show, their plans for the next album (which reportedly will begin work in May), a party at le Bon's in-laws, the girl who appeared on stage, their plans for Bourbon Street and various other less audible details. They spent most of the night out, and were not seen until the following afternoon. That evening they returned to Los Angeles for an appearance on the "Arsenio Hall Show" Wednesday night. Dates in England were already set, and various European festival dates were also planned.

As usual the band seems to defy predictions for its demise or next move. Certainly their appearance in New Orleans boded well for at least another album. The question will be whether they can maintain their audience. The Saenger theater never sold out, and while tickets were eagerly gained through a B97 radio contest, such a small date in a major city should have had been an instant success. The crowd at Arsenio Hall's show was enthusiastic, but le Bon dodged the issue of "Big Thing"'s chart status. Whatever the band's fate, it will be an irony if poor marketing proves the double edged sword that finally cuts their career short.


End file.
